Grateful Dead Live at Oakland-Alameda County Coliseum Stadium on 1986-12-15
- Grateful Dead
- DeadLists Project
Touch Of Grey
C C Rider
When Push Comes To Shove
Beat It On Down The Line
Greatest Story Ever Told
My Brother Esau
Let It Grow
Looks Like Rain
Black Muddy River
Playing In The Band
Playing In The Band
Johnny B. Goode
Related Music (Beta) question-dark
Versions - Different performances of the song by the same artist
Compilations - Other albums which feature this performance of the song
Covers - Performances of a song with the same name by different artists
|Touch Of Grey|
|C C Rider|
|When Push Comes To Shove|
|Beat It On Down The Line ->|
|Greatest Story Ever Told|
|My Brother Esau|
|Let It Grow|
|Looks Like Rain|
|Black Muddy River|
|Playing In The Band ->|
|Terrapin Station ->|
|Wharf Rat ->|
|Playing In The Band ->|
|Johnny B. Goode|
Nakamichi 300/CP4 -> Cassette Master -> FLAC (shnid=80809) supplies:
Drums (2:10 - 2:22)
-- Set 2 is seamless
-- Thanks to Joani Walker and Paul Scotton for the Cassettes
- 2009-05-18 20:43:44
- Cassette Master (Nakamichi DR-1/Dolby B) -> Sound Devices 744T (24bit/96k) -> Samplitude Professional v10.2.1 -> FLAC/16
- Oakland, CA
- Run time
- Taped by
- Joani Walkerand Paul Scotton
- Transferred by
- Charlie Miller
Subject: Exit, Pursued by a Bear
The first show back from Jer's coma is an historical show. But unlike most of the shows known chiefly for their history, this one has some great playing. Though this is legendary as the "return show", actually Jer had eased back, playing shows at The Stone in October and November, and had already played here on Halloween (this show was in the Oakland Arena, not at the Coliseum Stadium). Nonetheless, the weeks of woodshedding with the main band is so apparent. And it allowed the work-up of two new songs, premiered this night.
It's hard to explain to you kids what it was like in our world to hear Jer was in a coma (news that, pre-internet, spread much slower). If we were older we might have had better perspective. Jer just seemed invincible. And then he looked the same - this just months after doctors said it might be years before he played live, if ever. We figured the comeback shows would be at the smaller Kaiser, and the New Year's would be at the Oakland Arena; but it was the opposite (making NYE intimate, but hard tix to get). Like many of you, I had to go through the process of returning the summer tix for Sandstone, Red Rocks & Park City. Luckily, with mail order it was straightforward; those that had to return Ticketmaster tix got stuck with paying fees twice.
The show is uptempo throughout - sometimes mucho tempo. It's also got a bad SBD mix at first, so the AUD & MTX are preferable until the mix settles (plus you want a live sound that puts you in the audience for the history). The 1st Set is played with intent, joy and the confidence of coming from the woodshed. The 2nd Set bears the relaxation of having succeeded ( = sloppy in places). Note it's an 11-song 1st and a 12-song 2nd. The show was heavily traded over the next months, as we were both curious how they sounded and keen on the historicalness (you wouldn't know it from the archive sources, but it was FM broadcast, so it quickly circ'd). Some list this as a best of '86, and I knew a cat that thought this was the best show he saw, due in part to the extreme electricity on the floor.
First Set. Sure, Touch is the obvious choice, but it's still a great choice. A powerful, potent, poignant proposition. There are some tech issues, but Phil especially is psyched (throughout the show, too). "It's kind of like we never left". See, See Rider Blues carries it on, albeit with Bobby's Slide Practice™. Push Comes to Shove is the first one and one of the best-ever premieres. It's nicely uptempo and has "are you still in dread", which soon disappeared. It was then played 5 of the next 6 shows, tried in different slots. I appreciate this song much more now (at the time I mistakenly thought it was slow-shuffle-filler). Beat it on Down the Line-5 is 10lbs of dynamite in a 5lb bag. All the parts are there. Greatest Story is likewise exciting - until it has a small trainwreck. But then holy shit does Jer work extra to make it all better. Good gods I love the solo in this Loser, and Cassidy is hotter than soup. Jer just guzzles habaneros and then can't so much as pause in his excitement to launch Althea as a 1-2 punch. The latter is one high point after another. The more I listen to this duo... In My Brother Esau, Bobby seems jazzed to have Jer so enthused behind him, and what's laid out is a flexing, idealized version; a version best. Candyman is so X factor, with the crowd so connecting. Listen to Bobby's fills, and how Jer delivers one of his greatest C-Man solos. The set has been uptempo, but now notches to ultratempo for Let it Grow. This has several super sections, capping an electrified set with palpable energy.
Second Set. Iko Iko was also played the next night, with the Nevilles (& again with them the 30th). After a solid Looks Like Rain comes the first Black Muddy, which isn't quite as successful as the other premiere (both of which were in almost every show I saw for the next few years). The show's fulcrum, Phil keeps things on track for a Playing that's a mix of muffed and inspired. Drums>Space is not the most pleasant, and confusion abounds at first in Truckin'. Wharf Rat, however, is the most solid of the set. After the tight verses, the jam dissolves for awhile, becomes a jazzy thing, and dissolves again. After a couple minutes of squandering there's a brief Playing revisit, then Good Lovin' wobbles around a bit before falling into focus to spank the set. Johnny B. Goode finishes an avg set overall (but the final seq ain't bad). The rhythm guitar is better on the AUDs.
1st Set: A
2nd Set: C+
Overall = 4¼ stars
1st set - each one has wow moments
Wharf Rat - solid verses, jazzy dissolving jam touches PitB
SOURCES: You need an AUD for the opener, regardless. The best is 141034_Senn_Hessberg, and it also works best for See, See Rider Blues. A matrix works best for Push Comes to Shove (and maybe BioDtL and GSET as well). The 137555_mtx_tobin has some phasing so I like the 128689_mtx_nicksmix, though it has abrupt AUD cuts rather than fades. Though AUDs better translate the excitement, some SBDs work for the rest of the show (from BioDtL or Loser), the best being the re-pitched & patched miller_99035. Others, such as moore_8230, run slow.
Subject: bread crumb
Subject: “Success is not final, failure is not fatal: it is the courage to continue that counts.”
First of all, an A for effort. The reach is not so great here musically, but there is no question about the heart. If you were possibly looking for heart I suggest you have found it. (Or some?) (A part of the heart?)
Touch is laugh out loud funny, but in a silly- 'aint it great way. The band has a vitality which unfortunately would be downhill from here (in retrospect), but it is grand to listen to. Jerry has quite a bit of emotion in his voice, which is unusual for him. His voice can reach places few artists can, but he is rarely caught up by his own emotion. It's a true blue moment GD fans.
I tried to listen to the songs I particularly liked after Touch, but I got a headache by Iko. I haven't listened to this since the late '80s and it may be a while before I do again, but it's good thing to know that it's around.
Subject: Then I Get Back Truckin' On
~~~~~~It'll Set yo' tail on fiyo~~~~~~~~~~
Subject: nice combo
My Brother Esau
great sound lacks a little bump but hey.